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Enders Analysis provides a subscription research service covering the media, entertainment, mobile and fixed telecommunications industries in Europe, with a special focus on new technologies and media.

Our research is independent and evidence-based, covering all sides of the market: consumers, leading companies, industry trends, forecasts and public policy & regulation. A complete list of our research can be found here.

 

Rigorous Fearless Independent

Disney is deep into a race to improve direct-to-consumer (DTC) earnings faster than linear TV profitability falls. It will be a close call.

To get through the profit-depressed transition, Disney is doubling down on digital. Bob Iger now appears decided to keep Hulu, and will reduce content spending on long-term IP creation.

In Europe, Disney’s battle plan is one step behind, with significant price increases yet to be tried, cuts to be implemented, and sales to broadcast partners just beginning.

Sky will retain its English Football League (EFL) live coverage until 2029. While the price of the rights is up 50% (20% in real terms), the number of fixtures broadcast will increase fourfold to over 1,000 matches per season.

Sky's current EFL rights are very good value in terms of viewing—this will remain the case in the new rights cycle given the potential for broadcasting many more high profile matches.

With Sky retaining the EFL rights for relatively little more, there could be a similar outcome for the PL auction due later this year. Higher costs could be balanced by more matches, even if the 3pm blackout remains in place.

Recent developments in AI have ignited a frenzy in the tech world and wider society. Though some predictions are closer to sci-fi, this new phase is a real advance.

We view AI as a ‘supercharger’, boosting productivity of workers. The impact is already being felt across media sectors, including advertising and publishing.

Firms thinking about using AI should assess which tasks can be augmented and what data is required. Be prepared for unpredictable outputs and a changing legal and tech landscape.

ITV's total advertising revenue (TAR) in Q1 was down 10% year-on-year, which was marginally better than expected; Q2 is forecast to be down 12%. However, digital advertising has seen strong growth and now makes up 21% of TAR

ITVX is growing as it continues to offer more exclusive content. However, it is too early to tell whether growth is being driven by newer audiences or if it is just viewing that would have taken place on linear anyway

The publication of the draft Media Bill gives some certainty around the direction that the government will pursue in its update of the legal and regulatory framework for broadcasting. However, there remain a number of blanks left for Ofcom to interpret

Disney's fight for the streaming crown causes further problems: With this focus, Disney reaches fewer people through other channels such as TV or cinema, which are important for branding, especially for families, says François Godard, analyst at London-based consulting firm Enders Analysis. "Disney not only needs to make its streaming service profitable, but also draw attention to its iconic content to feed theme parks and merchandising, for example."

Media analyst Claire Enders said news channels rarely made a profit but this was not the objective for owners such as Saudi Arabia.

She said that the state had been watching the media strategy of Qatar — including its acquisition of sports rights — and was in effect using the same playbook.

“Al Jazeera helped normalise Qatar. Saudi has unlimited resources to invest in a similar media strategy to legitimise their position in the world and help them access people. A news channel is part of a wider multibillion-dollar media strategy.”

“It is a real scourge. Since Spotify has sought to open up to everyone, for and not only to the majors, it has been confronted with individuals who use bots to inflate the audience of songs that have nothing artistic about them”, underlines Alice Enders, from Enders Analysis. According to her, there are more and more 30-second clips on the platform, no doubt generated by AI. The share of streams from majors and independent labels has thus increased from 85% in 2018 to 75% in 2022.

In this remaining quarter, "there are certainly amateur musicians, who use bots to climb and get noticed by record companies, but also more and more scammers who seek to siphon off the income of genuine creators", she says.

Joseph Teasdale, tech industries expert at consultancy Enders Analysis, told i: “Nobody ever worked out a successful business model for free online journalism when Facebook changed its algorithm. It’s the end of an era for the web 2.0 generation.

“Everyone was looking for a wunderkid messiah. A digital Napoleon. People wanted to believe in a new Zuckerberg, somebody who just got the new world unlike the legacy media fuddy-duddies.”